The Third Part of the Night (encore screening!)

Emerging right out of the gate with a debut as emotionally potent and stylistically inventive as any of his dazzling later works, Andrzej Zulawski’s masterful fever dream The Third Part of the Night is an elliptical wonder on par with the most mind-stretching intellectual Moebius strips of Tarkovsky and David Lynch. Based on the real-life experiences of Zulawski’s father during the Nazi occupation of Poland, the film follows a fugitive who, after witnessing the murder of his wife and child, is hurled into a life that literally is not his own. Littered with trapdoors, doubles, and wormholes, Zulawski creates a cinematic world on the verge of collapse, where doppelgangers and dread abound alongside the true untold story of a Nazi vaccine laboratory, where Jews and members of the resistance were “employed” as feeders for parasites infected with typhus (thus protecting them from persecution.) It’s a history that’s mind-bogglingly fascinating on its own; in Zulawski’s hands, it’s one of the most unique war films ever created.
Dir. Andrzej Zulawski, 1971, 35mm, 105 min.

Possession (4/4, 10:20pm)

Special encore engagement!

4/4/2012 - 10:20PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (4/3, 7:30pm)

Special encore engagement!

4/3/2012 - 7:30PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (4/2, 10:45pm)

Special encore engagement!

4/2/2012 - 10:45PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

On The Silver Globe (final encore screening!)

“Plays like Tarkovsky’s ‘Stalker’ by way of a Jodorowsky acid-trip spectacle.” — BAMcinématek

A three-hour spaceman journey straight into the center of Andrzej Zulawski’s poetic heart, On The Silver Globe is the director’s most phantasmagorical film. In 1976, Zulawski embarked on the largest-scale film production in Polish history, and over the course of two intense years, executed an eye-popping, grandiloquent sci-fi epic concerning astronauts who crash-land on the moon and kickstart their own bizarre, primitive society. Sadly, the Polish government deemed the film subversive, shut the production down just before shooting was completed, and destroyed its film print materials, sets and impossibly lush costumes. Ten years later, using secreted footage, Zulawski was able to piece together a version of the film that came as close as possible to his original vision — and the results will defy your mind, as even in its reconstituted form, On The Silver Globe is a true brainquake that effortlessly takes you to dizzying heights, and just keeps on elevating. Our 35mm show of On The Silver Globe is truly a once-in-a-lifetime screening, as this archival Polish print may never screen in Los Angeles again! Plus, come early and you’ll be treated to Cinefamily VJ Tom Fitzgerald’s live Iron Curtain Sci-Fi video mix, happening as the pre-show from 7:00pm-7:30pm!
Dir. Andrzej Zulawski, 1977/1988, 35mm, 166 min.

Watch Cinefamily’s original trailer for the final encore screening of “On The Silver Globe”!

Possession (4/1, 10:20pm)

Special encore engagement!

4/1/2012 - 10:20PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (4/1, 7:45pm)

Special encore engagement!

4/1/2012 - 7:45PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Boris Godounov

Zulawski tackles Modest Mussorgsky’s famous opera about the bloody battle for ascendancy to the throne of Russia in the 17th-century! With a score conducted by Mstislav Rostropovich (one of the most legendary classical music figures of our time), Zulawski adds extra layers of devilish meta-textual embellishment by composing the film’s imagery as though we are watching a theater piece of a film crew making a movie about the opera of “Boris Godounov”! As well, the picture is full of delightful anachronisms that mock the then-contemporary Russian government, alongside jabs at other 20th-century dictatorships. So incensed was Rostropovich by Zulawski’s juiced final product — one that took liberties with the narrative’s sexual thrust, amongst other things — that he (unsucessfully) took Zulawski to court for “the violation of the Russian soul”! “Impressive in its use of whirling camera movements as well as mega close-ups of the contracted faces of its singers, ‘Boris Godounov’ is one of the most original opera movies ever made” (Michał Oleszczyk, Slant.)
Dir. Andrzej Zulawski, 1989, 35mm, 115 min.

Szamanka + David Lynch's "Crazy Clown Time" (world premiere!)

Our screening kicks off with the WORLD PREMIERE of David Lynch’s new music video Crazy Clown Time! One of Zulawski’s most impossible-to-describe works (amongst a filmography gloriously filled with them), the unrelenting Szamanka takes the Polish provocateur’s skewed vision of sexuality to electrifying new extremes. The szamanka (“she-shaman”) herself is a character known only as “The Italian”, a mystery figure full of fierce, pulverizing concentration who emerges out of the Warsaw subway, immediately confronts a brash anthropology professor and quickly manipulates him sexually — to the point where he is forced to obsessively reconcile his recent discovery of an ancient mummified shaman with that of this man-eating figure of female empowerment. Rarely in Zulawski’s films is sex presented merely to titillate, and here, the frequent, explosive act of physical coupling takes on whilrwind religious and primal tones, aided by the film’s incredible post-industrial soundtrack from regular Zulawski collaborator Andrzej Korzynski. By the film’s finale, the sum of Zulawski’s ferociously tactile images emerges as an exorcism of life’s grotesque underbelly, and galvanizes a career’s worth of provocative themes. That lead actress Iwona Petry fell into self-inflicted obscurity after Szamanka — with some claiming the psychological torment of this role led to a breakdown and subsequent journey toward enlightenment — only adds to the singularity of one of the most committed performances throughout all of Zulawski’s work. DO NOT MISS IT.
Dir. Andrzej Zulawski, 1996, 35mm, 110 min.

The Important Thing Is To Love + David Lynch's "Crazy Clown Time" (world premiere!)

Our screening kicks off with the WORLD PREMIERE of David Lynch’s new music video Crazy Clown Time! Impossibly funneling all of Zulawski’s violent, expansive energy into the delicate, cramped indoor spaces of the heart and well-furnished Parisian apartments, The Important Thing Is To Love charts a precarious, slow-burning love triangle between an actress-turned-porn starlet (Romy Schneider, in a career-defining performance), her jester-like husband (pop star Jacques Dutronc), and an admiring photographer (Fabio Testi) that explores the tension between passion and duty, as well as art and trash. Here, Zulawski is at his most rigorously restrained, mirroring the unconsummated smoldering between the luminous Schneider and moody Testi, a relationship unfazed through a sensualist hailstorm of grandiose orgies, pet bats, morose clowns, loan sharks, and geriatric drug addicts. As if that’s not enough, Klaus Kinski himself plays an overly intense thespian with a hair-trigger anger problem, thanks to one of history’s most awesomely self-aware casting choices. A tremendous Euro arthouse smash upon its release in the mid-’70s, The Important Thing Is To Love is not only essential Zulawski viewing, but essential viewing period.
Dir. Andrzej Zulawski, 1975, HD presentation, 109 min.

Summoning all the themes and shamanistic visual flourishes from across his entire career, then dousing himself with gasoline, lighting the flame, and jumping off the tightrope into the glorious realm below — but not before grabbing you by the face and taking you with him — Zulawski achieves the most acceleratory thrill ride of his (or any) lifetime with L’Amour Braque, a cinematic roundhouse into the fourth dimension that might qualify as the single most crazed motion picture in the history of the medium. Loosely based on Dostoevsky’s “The Idiot”(!), this speed-of-light gangster film finds a naive wanderer inadvertently sucked into a psyche-smashing vortex of drugs, ultraviolence (staged as if it were a Duran Duran video) and unending desire for Sophie Marceau’s blood-drenched femme fatale. Bursting with hyper-dialogue made purposely mischievous for even its original French audiences to navigate, this is the picture that Zulawski himself has called “epileptic”, yet it contains one of the most rigorously composed universes the director has ever unveiled — making it a true original amongst a landmark filmography already filled to overflowing with impossibly cool brain candy.
Dir. Andrzej Zulawski, 1985, 35mm, 101 min.

La Fidelite

“Compared to the secretion-oozing nuttiness of ‘Possession’, ‘La Fidélité’ is a work of almost touching delicacy and quiet desperation.” — Michał Oleszczyk, Slant

Zulawski is an undisputed master at extracting blistering, smoldering and heartbreaking performances from his female leads, and here in this magnum opus soap opera take on the classic 17th-century French novel “La Princesse De Clèves”, elicits a career-defining turn from Sophie Marceau — who, shortly after the completion of La Fidélité, would no longer be Zulawski’s real-life spouse. Marceau plays a world-class photographer whose need for steady work leads her to a sleazy Parisian tabloid; once there, she must battle out her rhapsodic affections for both a violence-obsessed paparazzi colleague and a hound-dog ineffectual publishing executive. Covering the span of many years, this baroque saga, complete with its dark labyrinth of emotional betrayals, feels like a wickedly satisfying literary journey into a culture of centuries past transposed onto a Zulawskian modern-day France — one with organ trafficking, locker room sex and underground dogfights pleasingly nestled alongside fancy hot-air balloon jaunts and unswerving romantic declarations.
Dir. Andrzej Zulawski, 2000, 35mm, 166 min.

A most whimsical, hurly-burly quasi-autobiographical love romp from the master of operatic intellectual romance! French pop star Jacques Dutronc (also starring in The Important Thing Is To Love) is a genius computer programmer diagnosed with a terminal brain disease, and Sophie Marceau is the flighty main attraction of a hilariously surreal mentalist nightclub act. Embarking on a billowy, tempestuous May-September fling (mirroring Zulawski and Marceau’s own marriage), they both move through their respective childhood traumas, while simultaneously racing to retain Lucas’ grasp of language. A pastel-and-neon poetic feast not only on the visual level, but also literally, My Nights… astounds with its lush wordplay — for the only way that Lucas is able to progressively battle his own evaporating mind is to speak with increasingly rhyming and metaphorical flourishes, until the entire world becomes one big sweet-toothed, Zulawskian word-association game. Full of delicate surprises, My Nights… remains one of its director’s greatest, most “complex explorations of the frightening and all-consuming nature of love.” (BAMcinematek)
Dir. Andrzej Zulawski, 1989, 35mm, 110 min.

The Blue Note

If you’re a fan of Ken Russell’s particular brand of stylistically dizzy biographies covering the lives of old-school classical composers, then you’re going to love The Blue Note, Zulawski’s outré ode to Frédéric Chopin (played here by concert pianist/first-time actor Janusz Olejniczak.) Simultaneously achieveing wistful and surrealistic tones, the film covers the last few days of fragile Chopin’s professional life, as well as the (ahem!) overzealous behavior from the phalanx of Chopin’s celebrity admirers. Set at a lush countryside estate, The Blue Note expertly drifts back and forth from tender “love triangle” mode to hyper-imaginary dream-like sequences, all aided by a near-constant beautiful stream of Chopin’s piano music on the soundtrack. As well, the film is one of Zulawski’s most personal projects, as Chopin’s Polish exile in France within the confines of the narrative mirrors Zulawski’s own similar post-’70s exile. The Blue Note is a rare film even amongst the rare Zulawski canon, as it has almost never been officially available on home video in any country with English subtitles — so don’t miss your only chance to see it proper!
Dir. Andrzej Zulawski, 1991, 35mm, 135 min.

La Femme Publique

A rare film about filmmaking that’s fleshy as it is brainy, La Femme Publique is an eloquently effed love letter to cinema that could have only been created by a director for whom romance is synonymous with delirium. A physically stunning Valérie Kaprisky stars as an aspiring actress whose efforts in a wild film adaptation of Dostoevsky keep her (barely) sane amongst the literal grind of nude photography dancing(!). Long drawn to the cinematic concept of doubles, Zulawski casts one for himself here, in the guise of the expat director (an intense Francis Huster) who shares Zulawski’s own obsession for extracting extreme, unorthodox performances from the cast. As Huster directs Kaprisky both on and off the set (and into his bedroom), his production remains one of cinema’s most self-reflexive and most aggressive films-within-a-film, viscerally exploding the boundaries between performance and life, and between director and directed. An essential companion piece to The Important Thing is to Love, this is required viewing for anyone looking for insight into the creative mind of one of the 20th century’s most inventive auteurs.
Dir. Andrzej Zulawski, 1984, 35mm, 113 min.

On The Silver Globe (encore screening!)

“Plays like Tarkovsky’s ‘Stalker’ by way of a Jodorowsky acid-trip spectacle.” — BAMcinématek

A three-hour spaceman journey straight into the center of Andrzej Zulawski’s poetic heart, On The Silver Globe is the director’s most phantasmagorical film. In 1976, Zulawski embarked on the largest-scale film production in Polish history, and over the course of two intense years, executed an eye-popping, grandiloquent sci-fi epic concerning astronauts who crash-land on the moon and kickstart their own bizarre, primitive society. Sadly, the Polish government deemed the film subversive, shut the production down just before shooting was completed, and destroyed its film print materials, sets and impossibly lush costumes. Ten years later, using secreted footage, Zulawski was able to piece together a version of the film that came as close as possible to his original vision — and the results will defy your mind, as even in its reconstituted form, On The Silver Globe is a true brainquake that effortlessly takes you to dizzying heights, and just keeps on elevating. Our 35mm show of On The Silver Globe is truly a once-in-a-lifetime screening, as this archival Polish print may never screen in Los Angeles again!
Dir. Andrzej Zulawski, 1977/1988, 35mm, 166 min.

Watch Cinefamily’s original trailer for “On The Silver Globe”! NOTE: this trailer was originally only for our March 11th show — the showtime of this event entry is Tuesday, March 13th.http://www.vimeo.com/37780463

On The Silver Globe

“Plays like Tarkovsky’s ‘Stalker’ by way of a Jodorowsky acid-trip spectacle.” — BAMcinématek

A three-hour spaceman journey straight into the center of Andrzej Zulawski’s poetic heart, On The Silver Globe is the director’s most phantasmagorical film. In 1976, Zulawski embarked on the largest-scale film production in Polish history, and over the course of two intense years, executed an eye-popping, grandiloquent sci-fi epic concerning astronauts who crash-land on the moon and kickstart their own bizarre, primitive society. Sadly, the Polish government deemed the film subversive, shut the production down just before shooting was completed, and destroyed its film print materials, sets and impossibly lush costumes. Ten years later, using secreted footage, Zulawski was able to piece together a version of the film that came as close as possible to his original vision — and the results will defy your mind, as even in its reconstituted form, On The Silver Globe is a true brainquake that effortlessly takes you to dizzying heights, and just keeps on elevating. Our 35mm show of On The Silver Globe is truly a once-in-a-lifetime screening, as this archival Polish print may never screen in Los Angeles again!
Dir. Andrzej Zulawski, 1977/1988, 35mm, 166 min.

The Devil

Hitting an off-the-charts level of subversive allegory, Zulawski’s second feature is a blood-splattered rampage through a war-charred 1790s Poland that turns the historical epic inside out, and dances on its carcass. Immediately banned in the director’s Communist Poland for over a decade and a half, The Devil writhes with nonstop demonic energy as it follows an nobleman who, after escaping from prison, swandives into insanity and mass murder. Returning home to his once-rich family — one now reduced to savages — and manipulated by a black-cloaked Satanic stranger at the center of a web of political treachery, the nobleman eventually enacts a Hamlet-like pyrrhic revenge on just about everyone in sight. But The Devil’s most spectacularly intense violence is all emotional, with near-constant outbursts of grief, and desperation of a seizure-like intensity that is downright mesmerizing. You won’t be able to look away, and with the way Zulawski’s gloriously restless camerawork captures all the detail, you’ll never want to.
Dir. Andrzej Zulawski, 1972, 35mm, 119 min.

The Third Part of the Night

Emerging right out of the gate with a debut as emotionally potent and stylistically inventive as any of his dazzling later works, Andrzej Zulawski’s masterful fever dream The Third Part of the Night is an elliptical wonder on par with the most mind-stretching intellectual Moebius strips of Tarkovsky and David Lynch. Based on the real-life experiences of Zulawski’s father during the Nazi occupation of Poland, the film follows a fugitive who, after witnessing the murder of his wife and child, is hurled into a life that literally is not his own. Littered with trapdoors, doubles, and wormholes, Zulawski creates a cinematic world on the verge of collapse, where doppelgangers and dread abound alongside the true untold story of a Nazi vaccine laboratory, where Jews and members of the resistance were “employed” as feeders for parasites infected with typhus (thus protecting them from persecution.) It’s a history that’s mind-bogglingly fascinating on its own; in Zulawski’s hands, it’s one of the most unique war films ever created.
Dir. Andrzej Zulawski, 1971, 35mm, 105 min.

Possession (3/7, 10:20pm)

Brand-new 35mm print!

3/7/2012 - 10:20PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/7, 4:40pm)

Brand-new 35mm print!

3/7/2012 - 4:40PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/6, 9:50pm)

Brand-new 35mm print!

3/6/2012 - 9:50PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/6, 4:40pm)

Brand-new 35mm print!

3/6/2012 - 4:40PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/5, 10:15pm)

Brand-new 35mm print!

3/5/2012 - 10:15PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/5, 7:30pm)

Brand-new 35mm print!

3/5/2012 - 7:30PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/4, 7:00pm)

Brand-new 35mm print!

3/4/2012 - 7PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/4, 1:50pm)

Brand-new 35mm print!

3/4/2012 - 1:50PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/3, 4:45pm)

Brand-new 35mm print!

3/3/2012 - 4:45PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/2, 4:40pm)

Brand-new 35mm print!

3/2/2012 - 4:40PM

Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie. Our screenings of Possession come from a brand-new 35mm print!
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.

Possession (3/1, 7:45pm, opening night party, Tearist LIVE!)

Opening night party, Tearist live!

3/1/2012 - 7:45PM

$14 TICKETS TO THE FILM SCREENING ARE SOLD OUT, BUT $7 TICKETS TO THE POST-SCREENING PARTY ARE NOW AVAILABLE! Tonight’s Possession opening night party features a live set by L.A.’s own Tearist, and a DJ set by Becka Diamond! Capturing the energy generated when two people whose lives are so intensely fused and woven are forcibly split, Possession is an emotional nuclear explosion. If all we were given were its operatic and shamanistic performances by leads Isabelle Adjani and Sam Neill, its impossible-to-describe music by Andrzej Korzynski, and its masterful, hyper-kinetical ballet of camera choreography — all delivered with the force of a a long-suppressed traumatic memory — then Possession would already be the best film about divorce ever filmed. But when the angels and demons of our inner nature are literally incarnated in phantasmagorical form — the kind requiring the talents of Oscar-winning creature FX master Carlo Rambaldi (who, instead of making a cutey-pie “E.T.”, concocts a tentacled Lovecraftian octo-sex-demon) — you have the kind of explosively cathartic and entertaining experience that leads to movie-lover nirvanic bliss. Welcome to Possession, your new favorite movie.
Dir. Andrzej Zulawski, 1981, 35mm, 123 min.